Tag Archives: dance

Ethiopian-American Graduations

Informant RE is a sophomore in high school from San Jose, California, whose family is originally from Ethiopia. There is a strong Ethiopian diasporic community in San Jose, where much of its traditions live on.

Text: 

“On graduation parties Ethiopian families are invited by the graduate’s parents to a graduation party, and the parents have to schedule with other parents who have children who are graduating at the same time because they want the parties to be on different days. When they have their set day, they rent out a banquet hall and prepare traditional dishes to serve, but some people also just order it. When people come, you’re supposed to greet them as they come, they give you gifts, then everyone lines up to get food. After the eating, we dance, and we do a lot of different cultural dances. After the dances there are speeches with friends and family, and after the speeches there is more dancing and cake cutting.”

Context:

High school graduation is an important liminal period in numerous cultures marking the transition period from school into the workforce. In the United States, high school graduation is traditionally celebrated with an elaborate ceremony hosted by the school in which students wear special garments and walk across a stage to reflect their passage into a new period.

Analysis:

The Ethiopian-American community takes the graduation ceremony a step further with the more elaborate and highly formalized graduation party. As informant RE alluded to, despite having no official text, the folk celebration of the graduation party is solidified into a specific format, from the choice of location — either a banquet hall or a home — to the itinerary — traditional foods, then dancing, then speeches, then dancing again. The Ethiopian-American graduation party is a collective celebration which not only marks the transition of the graduate, but celebrates the shared culture and community that helped the graduate along the way.

Luddi

The informant is one of my Pakistani friends who has lived in many different countries, yet is very attached to the culture of his heritage and is very involved in the rituals, ceremonies and overall traditions that are tied to his roots in Pakistan.

Dance:

The informant describes this dance, the Luddi, as a “circular formation that people dance to”. This dance entails the “clapping of their hands and spinning in circles as they are still moving in a circle.” Although the dance is not usually performed for a certain scenario or moment, it is “usually done at celebrations and ceremonies like weddings and dinners with the family” who are brought together and dance to specific songs that link to the informant’s culture. He describes his times watching the Luddi as a “coming together when [they] have not seen each other in a long time” and celebrating the family or a certain event happening at the time. It is always performed in Pakistan when the entire family joins, his family always visits to “celebrate their cousins, aunts, uncles and all the elders that have given us the privilege we have” conveying the importance of the dance in Punjabi culture.

Context:

The Luddi is typically done with “the group of women in the family that are important to the celebration or occasions” and this can range from “family of the groom or bride in a wedding or the parents and siblings of the birthday person.” The joining together of the women in a circle gives them a chance to “celebrate in a space without the men involved”. Although it is usually performed by older women in the family, younger women around the age of the bride and/or person of significance are able to join the dance and “learn the significance of what it means to become an adult woman” in the family that has their culture embedded into their daily lives. Luddi is msot typically seen in the winter and spring when all the family members come back from their travels for the wedding season, therefore, it allows the women to not only celebrate the occasion but also the family and other women.

Analysis:

The formation of a circle as part of the dance highlights the cycle of their culture and the generations that come together to form a chain that connects. It is creating a personal connection between the women of the family in that certain moment, growing as the girls grow and join the dance to celebrate each other. The clapping of their hands emphasises the celebration of the occasion and also creates a unified sound that the woman can sing and dance to, establishing their heritage and Punjabi culture in the form of performance and expression of their joy into feelings. The incorporation of this dance at weddings, which is also presented to be an important and momentous part of the culture in South Asia, highlights how the family is the base of their culture and even the women have their own traditions and rituals that create unity. Furthermore, the circle growing highlights the chain of Punjabi women in the family growing and the representation of the elders teaching the younger traditions to keep the culture alive.

Tinikling

Text:

The tinikling is a dance performed by Filipino people where the dancers hop between two bamboo poles held on either side by other performers, as the bamboo poles are tapped on the ground in a specific rhythm.

Context:

The informant is 67, was born and raised in the United States, and whose parents were born and raised in the Philippines. She performed this dance for school as part of physical education and sometimes for school performances. The dance was taught by the school as the national dance of the Philippines. 

Analysis:

Tinikling, the national folk dance of the Philippines, is a dance inspired by the movements of the bird that it is named after. Though there are many stories about the origin of this dance, the one with most historical context is that it arose among the indigenous Filipino people after Spanish colonists would punish the Filipino people working in their plantations by smacking their feet with bamboo sticks. Therefore, the form of folk dance that evolved from this punishment serves as an act of rebellion against past colonization and occupation, as well as a celebration of Filipino heritage. The dance is performed not only in the Philippines, but survives in the younger generations who perform the dance, usually in cultural clubs at universities.

Little Sally Walker

Nationality: American
Age: 21
  1. Text
    Little Sally Walker is an interactive song/game that involves a group of people.  Everyone arranges into a circle with at least one person in the center.  The person (or people, depending how large your group is) in the center starts walking/skipping around the circle while everyone sings: “Little Sally Walker, walking down the street.  She didn’t know what to do so she stopped in front of me, she said, hey girl, do your thing, do your thing, do your thing.  Hey girl, do your thing, do your thing, do your thing, now switch!”  When the song reaches “stopped in front of me,” the person in the middle will stop in front of any member of the circle and face them.  This center person will then do a dance move, and the person on the edge will mirror this move, all while the group continues to sing, “hey girl, do your thing, do your thing, do your thing.  Hey girl, do your thing, do your thing, do your thing, now switch!”  The person from the circle now switches positions with the person in the middle, and becomes the new “Little Sally Walker” and the cycle continues.
  2. Context
    This song/activity was a tradition at my childhood summer camp that I encountered in my first summer there in 2008, and repeated every year until my most recent summer (now working as a counselor) in 2022.  Little Sally Walker always occurred on the first day of camp, once all the campers had arrived and it was the first official “icebreaker” of the 2-week overnight session.  
  3. Interpretation
    While I’m sure this jingle has deeper historical origins than I’m aware of, it seems to express values around interaction and engagement with others.  As it requires nothing more than a group of people, it is able to be done anywhere.  In the context of my camp, it was also a successful way of passing time or distracting campers until an event or activity starts.  

Bring The Bride!

Nationality: Lebanese
Age: 47
Occupation: Mother
Residence: Dubai, United Arab Emirates
Performance Date: February 21st, 2023
Primary Language: Arabic
Language: English

Original: “جلب العروس“

Transliteration: Jalab El Aroos

Translation: “Bring the bride”

The informant is one of my family members who is married and has been raised in Lebanon for most of her life. She discusses instances in her childhood and moments with her family that are the most significant to her culture and upbringing

Context:

She states that “Lebanese heritage lies mostly within special occasions such as weddings, which is one of the most important moments of every Lebanese individual’s life as it brings most of the family together to practice passionate traditions that can only be done on these rare occasions” conveying the importance of culture within Lebanese Culture. She states that “This certain grand gesture is mostly practised by the Druze religion and is the process of claiming the bride from her family home” The Druze religion is the smallest religious group in Lebanon that have a certain manner in performing wedding ceremonies specifically. The process involves “driving from the groom to the brides home with a traditional Lebanese ‘Zaffe’ which includes a band and dancers dressed in traditional Druze wear” which the informant states have been done at her wedding in a vast manner. She ends with “The groom and family must dance and sing until they reach the bride to claim her from her parents and take her back to his home” The informant has specifically stated that this process is accurate at all Druze weddings and is a part of the ritual of their marriage.

Analysis:

The formal use of the title of the gesture highlights how sacred this element of the wedding is to the culture and religion. Although the Druze community is not the largest religious group in Lebanon, it is still indicated to be the country with the highest Druze population, therefore, having such a theatrical part of the ceremony allows them to celebrate their culture in a day with the entirety of the community. The dance is the main element of the gesture highlighting the culture that is taught into daily life in the ceremony so that every individual has the chance to celebrate and bring their culture to light at this heightened moment of celebration together. Incorporating the traditional outfits of the religion allows the community to be seen by the rest of the country as they are the smallest religious group. Although the ceremony may not have religious scripture or performance elements incorporated such as Christianity or Islam, this is how the Druze community incorporates their culture into formal celebrations and rituals. It also portrays the unity between the families as it is not an aggressive ‘claim’ but instead an agreement to allow the couple to continue to thrive in a joint manner in the Druze community.